Trevor Hogg is a freelance video editor and journalist, who has written for a number of titles including 3D World, VFX Voice, Animation Magazine and British Cinematographer. An expert in visual effects, he regularly goes behind the scenes of the latest Hollywood blockbusters to reveal how they are put together.
An image of a girl on a hoverboard, teetering on a window of a luxury high-rise building deciding whether to breakaway in a semi-submerged London of 2053 and the concept of a Memory Investigator provided Framestore’s VFX supervisor and creative director, Tim Webber, with the chance to create and direct a short film utilising FUSE .
Virtual camera and location scouting were conducted in real-time through an iPad or VR headset. “I put the actors in the VR headsets so they could understand and explore the environment, whether it be the apartment or the city,” remarks Webber. “Because everything is more interactive and immediate, it enables lots of people working on various aspects to be looking at stuff in more context, and you’re all looking at the same thing together.
“This enabled us to do more sophisticated, bespoke crafted lens flares and more interesting glitches. Also, there are the benefits of real-time. You’re wandering around with an iPad and discovering camera angles; it’s much more organic and you can have happy accidents. Virtual production was part of the process; however, as a point of reference. “Even when we were filming the actors it wasn’t typical LED volume in-camera visual effects,” says Webber. “We didn’t do any in-camera VFX or capture the background. The LED volume wasn’t providing the final image, but was useful in giving us the actor, setting and lighting, which made it all come together well.”
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